Robert Smith (musician)

Robert James Smith was born in Blackpool on 21 April 1959, the third of four children of Rita Mary (née Emmott) and James Alexander Smith. He came from a musical family, as his father sang and his mother played the piano. Raised as a Catholic, he later became an atheist. When he was three years old, his family moved to Horley, where he attended St Francis' Primary School. When he was six, his family moved to Crawley, where he attended St. Francis' Junior School. He later quipped, "[Janet] was a piano prodigy, so sibling rivalry made me take up guitar because she couldn't get her fingers around the neck." He told Smash Hits that in 1966, when he turned seven years old, his older brother Richard taught him "a few basic chords" on guitar. Smith began taking classical guitar lessons from the age of nine with a student of guitarist John Williams, whom he called a "really excellent guitarist". He said, "I learned a lot, but got to the point where I was losing the sense of fun. I wish I'd stuck with it." He gave up formal tuition and began teaching himself to play by ear, listening to his older brother's record collection. Up until December 1972, he did not have a guitar of his own and had been borrowing his brother's, so his brother gave him the guitar for Christmas. Smith said of this gift, "I'd commandeered it anywayso whether he was officially giving it to me at Christmas or not, I was going to have it!" Rock biographer Jeff Apter maintains that the guitar Smith received for Christmas of 1972 was from his parents, and equates this item with Smith's Woolworths "Top 20" guitar that was later used on many of the Cure's earliest recordings. Smith has given differing accounts of the instrument’s origin, at times stating in interviews that he purchased the guitar himself for £20 in 1978. Smith described Notre Dame Middle School as "a very free-thinking establishment" with an experimental approach, a freedom he claims to have abused. On one occasion, he said that he wore a black velvet dress to school and kept it on all day: "The teachers just thought, 'Oh, it's a phase he's going through, he's got some personality crisis, let's help him through it.'" St Wilfrid's was reportedly stricter than Notre Dame. In the summer of 1975, Smith and his school bandmates took their O Levels, but only he and Michael Dempsey stayed on to attend sixth form at St Wilfrid's from 1976 to 1977. Smith has said that he was expelled from St Wilfrid's as an "undesirable influence" after his band Malice's second live performance shortly before Christmas in 1976, which took place at the school and allegedly caused a riot: "I got taken back [in 1977] but they never acknowledged that I was there [...] I did three A levelsfailed biology miserably, scraped through French, and got a 'B' in English. Then I spent eight or nine months on social security until they stopped my money, so I thought, 'Now's the time to make a demo and see what people think.'" Smith has given conflicting accounts of his alleged expulsion, elsewhere saying that he was merely suspended and that it was because he did not get along with the school headmaster, and on another occasion saying he was suspended because his "attitude towards religion was considered wrong". ==Music career==

School bands: 1972–1976 Smith has said that his first band when he was 14 consisted of himself, his brother Richard, their younger sister Janet, and some of Richard's friends. He remarked, "It was called the Crawley Goat Band – brilliant!" which is at variance with Smith and his bandmates having already left Notre Dame Middle School by this time. As the Group gradually became Malice and began regular rehearsals in January 1976, Smith was still one of several floating members. Of their first "proper" rehearsal at St Edwards Church, Smith said: By December 1976, Graham's brother had been replaced by vocalist Martin Creasy, a journalist with The Crawley Observer, whose brief tenure with the group was a live débâcle according to those involved. By January 1977 Malice had changed their name to Easy Cure, partly to distance themselves from these earlier shows. Both drummer Lol Tolhurst and bassist Mick Dempsey are also noted as having performed vocals with the group in the early years. Tolhurst also sang on a cover of "Wild Thing" at Malice's early shows, and Dempsey sang backing vocals on songs like "Killing An Arab", and even recorded lead vocals on one track on the Cure's debut album, their cover of Hendrix's "Foxy Lady". During March 1977, a vocalist named Gary X came and went, and was replaced by Peter O'Toole, described as "a demon footballer and Bowie fan" who made his singing debut in April. As principal songwriter Smith was also not the sole songwriter or lyricist in the group during their early years; the band name Easy Cure came from a song penned by Lol Tolhurst, while Grinding Halt began as a Tolhurst lyric that Smith shortened to the first half of each line. Easy Cure condensed its name to the Cure shortly afterwards. During 1978–79, Smith composed and recorded demo versions of some of the Cure's definitive early songs on his sister Janet's Hammond organ with a built-in tape recorder, including "10:15 Saturday Night". By the time the NME interviewed the band in October 1979 during their tour with Siouxsie and the Banshees, Smith was acknowledged as the principal writer of "almost all of the Cure's songs and lyrics", and stated that he was uncomfortable playing and singing songs that were not his own. Following his return from the Banshees' tour, Smith also composed most of the music for the album Seventeen Seconds using the Hammond, a drum machine and his trademark Top 20 Woolworth's guitar, during a home demo session in his parents' basement. Most of the lyrics had been written in one night in Newcastle. Michael Dempsey, discussing his own departure from the group at this time, later remarked: Although Smith wrote most of the lyrics for Seventeen Seconds, many were also rewritten by the group during the recording of the album itself. Dempsey's replacement Simon Gallup described the collective writing process to Sounds in 1980: Lol Tolhurst later stated that he, Gallup and Smith all wrote lyrics for the Cure's early albums, and that the group dynamic only changed after their 1982 album Pornography: Tolhurst claimed to have written the lyrics for "All Cats Are Grey" from the 1981 album Faith, which he later re-recorded with his own project, Levinhurst. For their first four albums (Three Imaginary Boys, Seventeen Seconds, Faith and Pornography), all members of the group had received equal songwriting credits. With Simon Gallup's departure reducing the group to a duo, and Tolhurst quitting drums to start taking keyboard lessons, Of 1984's The Top, Smith would say it was "the solo album I never made", having played nearly all instruments himself except for drums (by Andy Anderson), with Porl Thompson contributing saxophone to one song ("Give Me It"), and Tolhurst contributing keyboards to 3 of the album's 10 songs. In 1985, the band had success with The Head on the Door, with Smith as the sole songwriter. The line-up also included Gallup, Tolhurst, Thompson and Boris Williams. In 1987, the double album Kiss Me, Kiss Me, Kiss Me, with singles "Just Like Heaven" and "Hot, Hot, Hot!" was released to increasing popularity for the band in the US. From that time and on subsequent records, the writing was made by the whole band but still with Smith as the main composer and arranger. Siouxsie and the Banshees, the Glove, and collaborations Smith, Severin, and Siouxsie on tour: 1979 Robert Smith met Steven Severin of Siouxsie and the Banshees at a Throbbing Gristle and Cabaret Voltaire gig at the London YMCA on 3 August 1979. Both the Banshees and the Cure had been signed to Polydor and its imprint Fiction, respectively, by Chris Parry, and Smith was already a fan of the Banshees. A few dates into the Join Hands tour, however, Banshees' guitarist John McKay and drummer Kenny Morris quit the band hours before they were due to go on stage in Aberdeen, placing the tour in limbo. The tour resumed on 18 September, with Smith playing in both bands each night. With some leftover time in the studio from the Cult Hero sessions, Smith also produced recordings by the Magspies and a young vocal and percussion duo the Obtainers (described by Steve Sutherland of Melody Maker as "two 11-year olds banging on pots and pans"), The Stranglers and Associates: April 1980 On 3 and 4 April 1980 at the Rainbow Theatre in London, Robert Smith and Matthieu Hartley (also of the Magspies, Cult Hero and by this time, the Cure) were among the many guest members of a unique line-up of the Stranglers to play two protest concerts for Hugh Cornwell, who had been imprisoned on drugs charges in late 1979. Joy Division were also one of the support bands on the second night. Recordings from the event were later released as The Stranglers and Friends – Live in Concert in 1995. Also during April, Smith provided backing vocals for the Associates' debut album The Affectionate Punch, released in August 1980. At the time, the Associates were also signed to Fiction Records, and had been joined in late 1979 by former Cure bassist Michael Dempsey. The Associates' front man Billy Mackenzie was a friend of Smith's for more than 20 years, and the Cure song, "Cut Here" (from 2001's Greatest Hits album), was written in response to Mackenzie's suicide in 1997. As Smith told Jam! Showbiz following the release of "Greatest Hits": And Also the Trees: 1981–1982 During 1981, the Cure received a home demo tape from And Also the Trees and immediately became friends. Front-man Simon Huw Jones later told Abstract Magazine that the Cure were AATT's "biggest fans, the first people who came up to us and said 'we think you're great'" and that the two groups were mutually influenced by one another. The group joined the Cure in support of the Eight Appearances tour of Scotland and Northern England during November and December 1981, together with 1313, featuring Steve Severin and Lydia Lunch, and the following year Robert Smith together with Cure/Banshees co-producer Mike Hedges co-produced And Also the Trees' 1982 cassette release From Under the Hill. Smith was initially to have also produced the band's debut single "The Secret Sea", Smith would again collaborate with And Also the Trees in 1991. Post-Pornography projects: 1982 In the wake of the Cure's Fourteen Explicit Moments tour, which culminated in the departure of Simon Gallup and the temporary dissolution of the Cure, in June 1982, Smith began collaborating with Severin of Siouxsie and the Banshees again. Although released under the name of the Cure, the only personnel to perform on the original Flexipop single release of "Lament" in August 1982 were Smith and Severin as co-producer, and soon afterwards, Smith admitted that the Cure as a band now existed in name only. That August, Smith briefly resurrected the Dance Fools Dance label to record and release the single "Frame One" by Crawley gothic/post-punk outfit Animation. In September, Smith with Tolhurst (now on keyboards) and session drummer Steve Goulding went into the studio to record a "blatant pop single" at the instigation of Fiction Records manager Chris Parry. Smith was reportedly so unhappy with the resultant track "Let's Go to Bed" that he attempted to have the single released under the name of Recur, feeling that the single let Cure fans down. During October, Smith and Severin also recorded early demos for what would become the Glove's "Punish Me With Kisses" single, at Mike Hedges' studio "The Playground". Smith also returned to touring as a live guitarist with Siouxsie and the Banshees from November, following the collapse of then-Banshee John McGeoch from nervous exhaustion one week before the band were due to go on tour. His return to guitar duties with the group prompted Smith to remark: He later said that he was "fed up" and "really disillusioned" with the pressures of playing in the Cure, and that "the Banshees thing came along and I thought it would be a really good escape". Smith and Severin meanwhile co-wrote the music to Marc and the Mambas' song "Torment", which appeared on the album Torment and Toreros. Between March and June 1983, Smith recorded with the Glove and (ostensibly) the Cure; prompting him to remark: "I need a holiday ... I keep making plans to go every week, but every week I'm in another group." Severin said of the project: Smith described the creation of the album by saying: As well as Barbarella, Yellow Submarine and the eponymous Blue Sunshine, films cited as having fuelled the project included The Brood, Evil Dead, The Helicopter Spies and Inferno. followed by the Siouxsie and the Banshees' single "Dear Prudence" (a cover of the Beatles' song) in September, all on the Banshees' own label Wonderland Records. Shortly before the group's scheduled Royal Albert Hall concerts in September and October 1983, Siouxsie and the Banshees were also invited to participate in an episode of Channel 4's television series "Play at Home", which they agreed to in order to take advantage of having the upcoming concerts filmed. The band with Smith decided to adapt Alice in Wonderland to tie the theme with the Banshees' Wonderland recording label. The result was a 45-minute television programme featuring performances from Siouxsie and the Banshees, the Glove and the Creatures, in which all four members of the Banshees appeared in a recreation of the Mad Hatter's Tea Party dressed as Alice, while each individual member scripted their own solo character performance and monologue. Musical interludes included the Glove performing "A Blues in Drag", the Creatures playing "Weathercade" and the whole band performing "Circle". The programme (which did not air on television until the following year) concluded with live footage of Siouxsie and the Banshees playing "Voodoo Dolly" and "Helter Skelter" live at the Royal Albert Hall. Meanwhile, both the Glove's second single, "Punish Me with Kisses", and the Banshees' live double album and companion video, Nocturne from the Royal Albert Hall shows, appeared in November. Meanwhile, in between commitments to the Cure, the Glove and the Banshees, Smith also found time to perform on Tim Pope's Syd Barrett-inspired "I Want To Be A Tree" single. Pope at the time was the regular director of promotional videos for the Cure, Siouxsie and the Banshees and Marc Almond, among others, but was taken aback when his fame on American MTV as a video director began to rival that of the bands he worked for. He described the project as "a real piss-take of what was going on in America", prompted by people referring to "Tim Pope Videos", and said that he "felt really strongly that they were not Tim Pope videos, they were Cure videos or Siouxsie videos or whatever". Over the 1983 Christmas holidays, Pope and a friend, Charles Gray, recorded what Pope described as "this really stupid song" that they had co-written years earlier as teenagers. In December that year while mixing the Cure's live album Entreat, he also recorded a solo cover version of Wendy Waldman's "Pirate Ships", originally intended for ''Rubáiyát: Elektra's 40th Anniversary''; a compilation album celebrating the history of the Cure's US label Elektra Records. Instead, however, the full band line-up of the Cure recorded "Hello, I Love You" by the Doors for Elektra, In 1992, Smith invited Cranes to support the Cure live on the Wish Tour. For one of the French dates of the tour (Stade Couvert Régional, Liévin, 15 November 1992), Cranes' vocalist Alison Shaw was ill and the group had to revise their entire set, with Robert Smith replacing Alison's vocal melodies on 6-string bass, and joined by the Cure's guitarist Porl Thompson. Cranes wrote most of their next album (1993's Forever) while on the Wish Tour, and the album's title was partly influenced by touring with the Cure. In 1993, Smith and Bryan "Chuck" New remixed the extended 12" version of Cranes' single "Jewel" from the album; Smith again contributing his trademark Fender Bass VI sound and additional guitars to the remixed track. The single gave Cranes their first Top 30 single in Britain and Norway, Bowie, Reeves Gabrels, Mark Plati, and COGASM: 1994–1999 From 1993, Smith's primary musical engagement was the recording of The Cure's album Wild Mood Swings, released in 1996 and followed by the Swing Tour, concluding in early 1997. He was meanwhile invited to perform at David Bowie's 50th Birthday concert at Madison Square Garden (9 January 1997), where he duetted with Bowie on "The Last Thing You Should Do" and "Quicksand". Here Smith met Bowie's guitarist Reeves Gabrels and co-producer Mark Plati, leading to their collaboration on the single "Wrong Number". Although released under the name of the Cure, "Wrong Number" was one of several "one-off" studio projects recorded during this period by Robert Smith either performing solo, or with guest musicians from outside the full-time line-up of the Cure. Earlier versions of the song had already been recorded by the band, but Plati and Smith completely reconstructed the track, built around a sampled drum loop by Cure drummer Jason Cooper. Smith and Plati added keyboards, effects and new vocals, while Gabrels laid down "a gazillion guitar tracks". In February 1998, Robert again collaborated with Reeves Gabrels in the studio, co-writing, singing and playing on the song "Yesterday's Gone" (eventually finding its way to CD release in 2000). The following month, Smith was again recording solo between RAK and Outside studios, assisted this time by co-producer Paul Corkett, whose production credits included Nick Cave, Björk, Placebo, Tori Amos and Suede. These sessions produced "More Than This" (not to be confused with the Roxy Music song) for The X-Files: The Album, and a cover of Depeche Mode's "World in My Eyes" for the tribute album For the Masses. More collaborations: 2003–2007 In 2002, as Exclaim! magazine's Cam Lindsay later observed, the Cure became "the band to namedrop as a musical influence, sparking rejuvenation for their career. Artists such as Deftones, Mogwai, Tricky and Thursday praise the band and stress their influence, while others like Hot Hot Heat and the Rapture receive constant comparisons". "All of This (feat. Robert Smith)" for Blink-182's self-titled album released in November, and "Believe (feat. Robert Smith)" on veteran Bowie guitarist Earl Slick's Zig Zag album, released 9 December 2003. Slick meanwhile contributed guitars to the Mark Plati mix of "A Forest" featured on the Join the Dots box-set on 27 January 2004. Although issued under the moniker of the Cure, the "Mark Plati mix" was in fact an entirely new recording resulting from the studio collaborations between Slick, Plati and Smith. Smith had also recorded vocals for another completely new version of "A Forest" during 2003, this time billed as a cover version by the German electronic duo "Blank & Jones (feat. Robert Smith)". Released in September 2003, the single reached number 14 in the German Top100 Singles charts, and three separate remixes later appeared on the 2004 album Monument; "A Forest" being described by AllMusic's Rick Anderson as "the centerpiece of the album". January 2004 also saw the single release of Junior Jack's "Da Hype (feat. Robert Smith)", which also appeared on the Belgium-based Italian house music producer's album Trust It in March. During the same month, an exclusive re-recording of the Cure's "Pictures of You", remixed by Australian electronic musician/producer Paul Mac and released under the banner "Robert Smith – Pictures of You (Paulmac mix)", featured in the soundtrack to the Australian "rave culture" film One Perfect Day. "Truth Is (Featuring – Robert Smith)" appeared on former Nine Inch Nails drummer and co-founder Chris Vrenna's second Tweaker album 2 a.m. Wakeup Call, released 20 April 2004. In 2004, on 17 September at Old Billingsgate Market in London, Smith joined Blink-182 live onstage to perform "All of This" during the MTV Icon tribute to the Cure. On 21 October, Robert stood in as one of three guest presenters for John Peel on BBC Radio 1, just days before Peel's death. Near the end of the year, Robert Smith made two guest appearances live at Wembley Arena; first joining Placebo on 5 November on their song "Without You I'm Nothing" and the Cure's "Boys Don't Cry", followed by Blink-182 on 6 December to perform "All of This" and again, "Boys Don't Cry". In June 2005, Smith appeared on Smashing Pumpkins/Zwan front man Billy Corgan's solo debut TheFutureEmbrace, sharing vocal duties during the refrain for Corgan's cover of the Bee Gees song "To Love Somebody". In November 2006, Robert appeared on UK trance and trip hop act Faithless's album To All New Arrivals, on the track "Spiders, Crocodiles & Kryptonite", featuring prominent samples of the Cure's "Lullaby", for which Smith recorded a new performance of the original vocal. Another guest vocal on Paul Hartnoll of Orbital's song "Please" was released as a single and appeared on The Ideal Condition in May 2007. Placebo's Steve Hewitt meanwhile announced plans to launch a solo dance/drum'n'bass-influenced album under the working title of Ancient B to feature Smith singing some tracks, and bassist Jon Thorne of Lamb. More guest vocals, plus solo cover versions: 2010–2021 in 2012 From 2010 to 2012, as well as continuing to collaborate with other artists as a guest performer, many cover versions were released by Robert Smith performing solo. Unlike his previous solo covers (such as "Pirate Ships" and "World in My Eyes"), these were officially released under the name of Robert Smith, rather than the Cure. In 2010, he contributed a cover of "Very Good Advice" from the 1951 film adaptation of Alice in Wonderland to the album Almost Alice; a companion release to Tim Burton's adaptation of Alice in Wonderland, while "Pirate Ships" from 1989 also saw release on CD for the first time. and the single version of Crystal Castles' "Not in Love", a cover of Platinum Blonde's song of the same name, released on Fiction Records, 6 December 2010. In June 2011, electronic dance act the Japanese Popstars from Northern Ireland released their album Controlling Your Allegiance in the UK, including the track "Take Forever (Ft. Robert Smith)", and the following month, a solo cover version of "Small Hours" by British singer-songwriter and guitarist John Martyn (1948–2009) was released on the tribute album Johnny Boy Would Love This. On 25 October 2011, instrumental rock band 65daysofstatic released the track "Come to Me" featuring Robert Smith as a free download, coinciding with the release of their album We Were Exploding Anyway. In 2012 Robert again recorded a solo cover version for a Tim Burton project; this time covering Frank Sinatra's 1957 hit song "Witchcraft" for Frankenweenie Unleashed!, a 14-track collection of songs "inspired by" the filmmaker's stop-motion film, Frankenweenie, released on 25 September 2012. In 2015, Smith contributed vocals to the song "Please" from the album 8:58, a project by Paul Hartnoll. The track is in fact a reworking of the track of the same name from the Ideal Condition, which he also contributed vocals for. On 15 June 2015, the Twilight Sad released a single featuring Smith covering "There's a Girl in the Corner", originally from the Twilight Sad's album Nobody Wants to Be Here and Nobody Wants to Leave. In 2015, Smith also contributed vocals to "In All Worlds", a single from Eat Static's album Dead Planet. in 2019 In September 2020, Smith appeared on the Gorillaz' song "Strange Timez" from their Song Machine series and also appeared in the song's animated music video. In December 2020, Smith took part in two live stream charity events, including The Cosmic Shambles Network's "Nine Lessons and Carols for Curious People" 24-hour charity live stream, 12 December 2020. Smith played three songs from the Seventeen Seconds album: "In Your House", "M" and "Play for Today". On 22 December 2020, Smith played three songs from the Faith album, "The Holy Hour", "The Funeral Party", and "The Drowning Man", for the live stream the annual Second City 24-hour improvisation charity event for "Letters to Santa" In June 2021, Smith appeared on the Chvrches song "How Not To Drown" from their album Screen Violence. In October 2023, Smith appeared on the Crosses song "Girls Float † Boys Cry" off the album Goodnight, God Bless, I Love U, Delete. Smith appeared as a guest during Olivia Rodrigo's set at the 2025 Glastonbury Festival, and performed "Just Like Heaven" and "Friday I'm In Love" with her. ==Musical influences==

Smith has credited his older siblings Richard and Margaret with exposing him to rock music such as the Beatles and the Rolling Stones when he was six years old. and early in his career the Cure's second single "Boys Don't Cry" was compared by British music paper Record Mirror to "John Lennon at 12 or 13". Of this period, he went on to say, "My brother was also crazy about Captain Beefheart, Cream, Jimi Hendrix, so much so that when I was 7 or 8, to the despair of my parents, I became some kinda little devil fed on psychedelic rock." He said, "The two groups that I aspired to be like were [Siouxsie and] the Banshees and the Buzzcocks. I really liked the Buzzcocks' melodies, while the great thing about the Banshees was that they had this great wall of noise, which I'd never heard before. My ambition was to marry the two." Speaking of his stint of playing guitar with Siouxsie and the Banshees in 1979, Smith said, "It allowed me to experiment. I inherited an approach from John [McKay] which was just to have everything full up. [...] It was phased/flanged distortion noise." Along with the Banshees, early Cure gigs from 1978–1979 supporting other post-punk bands such as Wire and Joy Division also influenced Smith's shift in musical direction from the Cure's 1979 album Three Imaginary Boys to 1980's second album Seventeen Seconds. During the 1980s, Smith mostly listened to disco and/or Irish bands such as the Dubliners as a means of avoiding his contemporaries, until he discovered the 1991 album Loveless by shoegaze pioneers My Bloody Valentine and stated, "[My Bloody Valentine] was the first band I heard who quite clearly pissed all over us, and their album Loveless is certainly one of my all-time three favourite records. It's the sound of someone [Shields] who is so driven that they're demented. And the fact that they spent so much time and money on it is so excellent." ==Musicianship==

Songwriting In an interview in 2000, Smith said that "there is one particular kind of music, an atmospheric type of music, that I enjoy making with the Cure. I enjoy it a lot more than any other kind of sound". When Smith was asked about the 'sound' of his songwriting, Smith said that he did not "think there is such a thing as a typical Cure sound. I think there are various Cure sounds from different periods and different line-ups." In 2022, Andrew Daly of Guitar World ranked him at number four in the "22 guitar heroes who shaped the sound of '80s indie and alternative rock", saying he "set the gold standard for post-punk, goth rock, new wave, and art rock" and praising his "skillful blending of melody and a never-ending desire to genre hop." In a 1992 interview with Guitar Player, Smith shared insights from his first guitar lessons—undertaken at the age of nine years—and his guitar-playing style, such as alternative tunings as well as his habit of purposely detuning the high "E" (first) string on his guitars. Of his first lessons, Smith stated: Smith also described his detuning process: "I don't know what it adds, but the guitar just doesn't sound quite right to me normally. In the studio, I often defy the tuners, particularly with keyboard overdubs. I even change the speed of the tape to detune some parts. I think a lot of players presented with the same guitar and told to tune it themselves would come up with something drastically different. And the way you play [the guitar] affects the perceived tuning. If Porl [Thompson] and I tune together and play the same thing, but he plays hard and I play soft, it will sound completely off." He then decided to have the Top 20 pickup installed in the Jazzmaster, giving it a third pickup. Smith explained this guitar customization in 1992: "The third pickup [in the Fender Jazzmaster] is from a Woolworth's Top 20 guitar, my very first electric. I took it in to record our first album, along with a little WEM combo amp. [Manager/producer] Chris Parry, who was paying for the record, said," you can't use that!" We went out and bought a Fender Jazzmaster, and I immediately had the Top 20 pickup installed in it, which really upset Chris. I played the entire Three Imaginary Boys album through a Top 20 pickup. It's a brilliant guitar, though I actually bought it because of how it looked." Smith started incorporating more distortion and feedback sounds and textures on albums such as Wish where Smith predominantly played a Gibson Chet Atkins as well. ==Stage persona and image==

Smith started to backcomb his short hair in 1980–1983. He adopted his aesthetic of a pale complexion, smeared red lipstick, black eye-liner, dishevelled nest of wiry long black hair, all-black clothes, and brothel creeper shoes or trainers in 1984, after being the guitarist of Siouxsie and the Banshees for 18 months and borrowing Siouxsie Sioux's lipstick. The sombre mood of early albums, combined with Smith's on-stage persona, cemented the band's gothic image. Although considered a goth icon, Smith said he never connected with the label, In 1986, Smith altered his image by appearing on-stage sporting short spiky hair which can be seen in The Cure in Orange. His new look made the headlines. He soon returned to his usual style. ==In popular culture==

Early television and film references An early "pop culture" reference to the Cure is found in the eleventh episode of BBC2's anarchic alternative comedy series The Young Ones, from 1984. The series featured regular cameo performances from British rock and pop groups of the period, such as Motörhead, the Damned, and Madness. As the episode's title "Sick" suggests, all four of the main characters (Vyvyan, Rick, Neil and Mike) are ill, prompting Vyvyan to send Mike to the pharmacy for medicine. Neil remarks: "I hope Mike hurries back with the cure!" to which Vyvyan replies, "No Neil, Neil, it's madness this week." The band Madness then performs a musical cameo. Rock biographers Bowler and Dray note that increasing popular interest in the Cure in America during the mid-late 1980s became "a pat shorthand for TV and film writers to indicate mixed up children – the Steve Martin film Parenthood uses a bedroom poster of Robert to underline the point that 'this adolescent is confused and miserable'". Edward Scissorhands and influence on Tim Burton (1988–2012) In 1988, a Spin magazine interview with Smith reported that "the director of ''Pee-wee's Big Adventure''" [Tim Burton] had asked Smith to make an appearance in a film. The Cure's keyboardist Roger O'Donnell has since said that during recording of the Disintegration album (1988–89), Burton approached the group about providing the soundtrack to the 1990 film Edward Scissorhands, and even sent them the script. In a 1991 article discussing inspirations behind the look of the film's title character, Entertainment Weekly (citing Burton and costume designer Colleen Atwood) reported that "the character's retro hair and penchant for leather clearly draw on punks like the Cure's Robert Smith". Burton is a self-proclaimed fan of the Cure and his sartorial style has been likened to that of Smith. In 1996, Smith confirmed to French magazine Télérama that Burton had approached the Cure about a number of collaborations, and regularly kept in touch with the group about each of his latest film projects, but that they had thus far always been too busy either touring or recording to contribute. Burton asked Smith to score the soundtrack for Sleepy Hollow (1999), but Smith said that "they were postponing it so much that I got involved with [the Cure's album] Bloodflowers and let it aside". In 2009 Burton presented Smith with the Shockwaves NME Godlike Genius Award, saying that when he was "chained to a desk" and "fucking depressed" during his time as a young animator for Disney, "this music was the only thing that saved me. I just want to thank you for inspiring me." Shortly after the award ceremony, Burton again reiterated to BBC 6 Music his long-standing admiration for the Cure, and his desire to collaborate with them. Other illustrators of the character over the course of the series' run have also drawn influence from other popular musicians; Sam Kieth, for instance, describes his rendering of the Sandman character as the "David Bowie/guy-from-the-Cure" version, and said that the Robert Smith look of the character was "really heavily championed" by Gaiman and DC Comics editor Karen Berger. Mike Dringenberg, on the other hand, compared Kieth's Sandman to Ron Wood and Keith Richards of the Rolling Stones, and asserts "my version ... was more like Peter Murphy or Robert Smith." Conversely, Kelley Jones, who illustrated the Dream Country and Season of Mists (volumes 3 & 4 in the series), said he "just hated the Cure" and thus based his own version of the character on the angular gestures and facial features of Bauhaus front-man Peter Murphy instead. Gaiman said that early conceptual sketches for the character by Leigh Baulch and Dave McKean drew influence from Bowie's Aladdin Sane persona, and Bono from U2. Cure posters were also "known to creep into the background of some of the sandman stories" and Smith told fans that he was flattered by Gaiman's reference, and thought The Sandman was "a brilliant series". Smith said that the song "Burn", the Cure's contribution to the 1994 film adaptation's soundtrack, was deliberately written and performed in the style of "The Hanging Garden". Other comic book and fan fiction references Garth Ennis's Muzak Killer stories for 2000 AD Comics from 1991 also contain visual references in the form of characters resembling Robert Smith, and again, Smith himself is a self-professed fan of 2000 AD. Revolutionary Comics produced a biographical comic book on the Cure in 1991 as Issue No. 30 of Rock n Roll Comics series, and the following year Personality Comics produced their own Cure biography in the form of Music Comics 4: The Cure. Ian Shirley, author of Can Rock & Roll Save the World?: An Illustrated History of Music and Comics, considers the fact "that the Cure have spawned two biographical comics ... just shows the impact that Robert Smith and his Goth chic had upon America in the 1990s". In the 1980s, the Japanese music magazine 8-beat Gag published a series of caricatures of western artists by manga artist Atsuko Shima; Robert Smith had his own edition, and figured on the cover. Gothic horror and fantasy writer Poppy Z. Brite, in his vampire novel Lost Souls (1992), uses a poster of Robert Smith on a bedroom wall as a sexual prop during a homoerotic encounter between two of his characters, Laine and Nothing. Colin Raff of the New York Press described "Poppy Z. Brite's enthusiastic appraisal of Robert Smith's mouth in her (sic) depiction of a fictional blowjob" as "an example of the unfortunate habit of many fiction writers (especially since the 1980s) to invoke pop stars and their lyrics with un-ironic [sic] reverence, resulting in prose about as reflective as voyeuristic journalism, bad porn and bumperstickers". Television parodies and cameos: 1990–1993 In television comedy programs during the early 1990s, Smith was sometimes the subject of lampooning. MTV's Half Hour of Comedy Hour (1990–1991), featured a mock episode of This Old House in which a parody of Smith's Disintegration-era persona is seen asking building contractors to leave his house in a semi-demolished state to retain the sense of "urban decay". The Mary Whitehouse Experience (1992) poked fun at Smith's attempts to use lighter pop music to "show his happier side", by presenting a series of sketches in which Smith (played by Rob Newman) performs comedic novelty songs "The Laughing Policeman", "Tie Me Kangaroo Down, Sport", "Ernie", "Crash Bang Wallop", the theme to the children's programme Play Away, and the WWI soldiers' "Chinese crackers in your arsehole" parody version of the patriotic anthem "Rule, Britannia!". Newman portrayed Smith dolefully wailing the lyrics over a backdrop of gloomy Cure-styled mope-rock. Another of the series' regular characters, Edward Colanderhands, appears in one episode as a member of the Cure's audience. Another sketch on The Mary Whitehouse Experience revolved around "Ray: a man afflicted with a sarcastic tone of voice", also portrayed by Newman, and presented in the style of a medical case history. Ray's catchphrase was "oh no, what a personal disaster". In the series' final episode, Ray is given a copy of the Cure's Disintegration LP as a present, and is so overwhelmed that he can no longer speak in a sarcastic tone, and spontaneously begins speaking Flemish. In the closing scene, Ray has a chance meeting with the real Robert Smith in a cameo appearance, who punches Ray in the face and declares "oh no, what a personal disaster". Rob Newman and David Baddiel's live comedy video, History Today (1992), also features Newman's Robert Smith character, singing the children's songs "Head, Shoulders, Knees and Toes" and "I'm a Little Teapot". Smith later made another cameo in the comedy duo's spin-off series Newman and Baddiel in Pieces (1993). In a scene where David Baddiel fantasizes about his own funeral, Smith appears graveside, saying: "I've never been this miserable. I always preferred him to the other one" before leading a conga of mourners in party-hats around the graveyard. Career Girls (1997) Mike Leigh's 1997 film Career Girls depicts the reunion of two women who formerly shared both a flat and a love of the Cure as teenagers in the 1980s, featuring the band's music and imagery throughout. Smith was invited by Leigh to the premiere, which Smith described as "one of the weirdest afternoons of my life ... There's one bit in the film when they see a poster for 'The 13th', the first single from the last album, and she says to her friend, 'Are they still releasing records?' And I thought that was really unfair -'The unchanging man in the changing world.'" South Park: Mecha-Streisand (1998) In 1998, Smith voiced an animated version of himself in "Mecha-Streisand", an episode of South Park, in which he battles "Mecha Barbra Streisand" in "a battle of Godzilla vs. Mothra scale" that completely destroys the town of South Park. Streisand is portrayed as a "calculating, self-centered, egotistical bitch" who wants to conquer the world with an ancient artifact accidentally discovered by Eric Cartman, known as the "Diamond of Pantheos". After film critic Leonard Maltin and actor Sidney Poitier transform into kaiju creatures (based on Ultraman and Gamera, respectively) to battle Mecha-Streisand, yet ultimately fail to defeat the beast, Robert Smith enters, confident he can defeat Mecha-Streisand, with the help of the boys. To battle Mecha-Streisand, the boys help Smith transform into "Smithra", who has the ability of "robot punch", and ultimately defeats the monster by taking it by the tail and hurling it into space. He offers to "roshambo" Cartman to get his Walkie-Talkie back, and immediately kicks Cartman in the groin, causing him to drop the walkie-talkie. At the end of the episode, as Smith walks off into the sunset, Kyle Broflovski calls out, "Disintegration is the best album ever!" and Cartman adds, "Robert Smith kicks ass!" To date, he is one of only a few celebrities to be portrayed in a universally positive way on the show. At the time, the episode brought South Park its highest ratings to date, with approximately 3,208,000 viewers; about 40,000 more than tuned into ABC's Prime Time Live. Comedy Central's debut screening in February 1998 marked the first time a cable station had beaten one of the Big Three television networks during prime time viewing, and "Robert Smith Kicks Ass" T-shirts were reportedly "doing a healthy trade among Cure fans" soon afterwards. He told Belgian magazine Humo: Interviewed by Placebo's Brian Molko for Les Inrockuptibles magazine, Smith said that South Park creators Trey Parker and Matt Stone sent him the script, but deliberately left some portions blank "to keep the surprise". He said, "They didn't want anybody to know, they wanted to shock. When I saw myself, I found it surrealistic." In another interview set up by Entertainment Weekly, Smith told Fall Out Boy bassist Pete Wentz that the "Disintegration is the best album ever!" scene was one of his "greatest moments in life" This Must Be the Place (2011) The look of Cheyenne (played by Sean Penn), the main character in director Paolo Sorrentino's 2011 film This Must Be the Place, is inspired by Smith's appearance. ==Personal life==

Marriage Smith met Mary Theresa Poole in drama class at St Wilfrid's when they were both around 14 years old, and they were married at Worth Abbey on 13 August 1988. They have 25 nieces and nephews with Smith espousing the antinatalist view that he not only objects to having been born himself but refuses to impose life on another. He also "does not feel responsible enough to bring a child into the world". It has been reported by the Daily Express that she used to be a model and worked as a nurse with intellectually disabled children, but gave up her job so that the couple would not have to spend so much time apart as the Cure became more financially successful during the mid-1980s. He told The Face in 1985 that he had once accidentally left a video camera running in their home: "After a couple of hours you forget that it's on and I was quite horrified at the amount of rubbish we say to each other. It's like listening to mental people [...] I feel more natural in the company of people who are mentally unbalanced because you're always more alert, wondering what they're going to do next." He added that Mary used to dress as a witch to scare children, that she sometimes dressed up as him, and that he could never take people home as he did not know "who [would] answer the door". While the Cure was recording Wish at Shipton Manor between 1991 and 1992, among the objects pinned to the wall was "Mary's Manor Mad Chart", listing 17 members of the Manor's staff and residents (including the Cure and their entourage) "in order of instability". Mary was ranked in second place after a kitchen worker named Louise. Smith said of this time, "We all voted and we had an award night. It was very moving." Family Smith had an older brother named Richard, an older sister named Margaret, and a younger sister named Janet. He has said that he is significantly younger than Richard and Margaret because his mother "wasn't supposed to have" him: "And once [my parents] got me, they didn't like the idea of having an only child, so they had my sister. Which is good, because I would have hated not having a younger sister." Janet, together with Simon Gallup's then-girlfriend Carol (both dressed as schoolgirls) with real-life schoolboy band the Obtainers, sang backing vocals for Cult Hero at the Marquee Club as the opening act for the Passions in March 1980. The Cure's in-house design company Parched Art created the album cover for the Cure's The Head on the Door using a manipulated photograph of Janet taken by the band's guitarist and album cover artist Pearl Thompson. Janet had known Thompson since they were children, and the pair began dating during his early tenure as lead guitarist for Malice and the Easy Cure. During the mid-1980s, Janet gave up a professional career as a pianist to spend more time with Thompson and the Cure, Janet is also credited with having taught Smith's guitar technician Perry Bamonte to play piano while the band were recording Kiss Me, Kiss Me, Kiss Me, prior to Bamonte joining the group as keyboardist in 1990. According to Bamonte, "With the patience of a saint, she spent a month teaching me the rudiments of playing piano. Before this, I knew nothing." During a concert at Tauron Arena Kraków on 20 October 2022, the Cure dedicated their song "I Can Never Say Goodbye" to Richard, who had recently died. Views Smith is uncomfortable giving interviews and talking to strangers, expressing a desire to avoid both where possible. He has openly expressed disdain for the British royal family, lamenting how musicians he respects have accepted British honours while stating that he would rather "cut off [his] own hands", as well as sporting a "citizens, not subjects" slogan on his guitar during a tour in 2012 and 2013. In 2024, Smith signed an open letter criticizing the use of artificial intelligence in music. ==Discography==

;With the Cure ;With Cult Hero • "I'm a Cult Hero" single (1979) ;With the Glove • Blue Sunshine (1983) ;With Siouxsie and the Banshees • Nocturne (1983) • Hyæna (1984) ;As solo artist • "Very Good Advice" (2010) Sammy Fain and Bob Hilliard cover, from Almost Alice • "Small Hours" (2011) John Martyn cover, from the Johnny Boy Would Love This tribute album • "Witchcraft" (2012) Cy Coleman and Carolyn Leigh cover, from Frankenweenie Unleashed! • "C Moon" (2014) Wings cover, bonus from The Art of McCartney • "There's a Girl in the Corner" (2015) The Twilight Sad cover, from a split single Collaborations ==See also==